Matt Connarton Unleashed 7-13-24 hour 1

The different once the chorus comes in, just for let us say the name.

H oh, I ain't grow up in the hood, but I'm good

damn. Try to walk in my shoes, not the good path. Steal

ball on a hougain and one from the father with a game understand some move

with the work, sort of like a tan dump. I'm about to take

the rat cap for ransom. Different meetings when we greet them and say hands

up, kills me it pancake. Charles Manson putin get a boy pen.

Don't you know that is she spinds. I'm just trying to touch the world.

Paper was my middle man. Ma'maa send no rid of limb. They

go not the way you think. I was trying to buy some hope.

Not in the track. People problems come up plate trying to get them in

a c pull tim. I was healing beats, pullamas in the set still

a dollar only. I was making sense, trying to get this money straight

just about commendess call it this dride like I'm chout. Can't count the times

I came from Coachhoulters hit me in the rocks a week and make bold to

my son gole put squares like PlayStation control of pols up. They pray that

I retired, but I got it like Trump when I spent five till the

wall to run the prophet. Call it how you want it. I'm gonna

treat them how they treat me. Start it from the bottom. Never said

it would be easy. And I remember when DMX used to come in in

those prayers church and hon we're gonna have to and this one with a prayer.

I hope y'all win me, Heavenly Father, I feel remorse for the

pain of costs on my grind. Stable lives in my hand. The boss

many times close my eyes. It ain't for the stars. Remember, it's

gonna take friction if you want to spark to see the church and when the

night starts. But ain't he a man who could like dark my God?

He helped bouncy park is trying to turn the bag and for a park and

swarp it man escaped and bounce Lordy and street to have mom. You're not

next to me. I read the gold hung and with the way in like

an eight can I myself every day? I dreaded nine b he drowned ro

five can't be h and read walking in the poetry, then walking in some

and Nazi face read nicety to an old feel too. If I know I

can't DestinE, read nicy u sap if I do, and feed by side

I rensteeping in by lone and street to hay month in nine next. Good

morning, everybody, welcome, here we go. It is that time again,

Matt Connerton unleashed and we are live from the studios of wm NH ninety

five point three FM, Inglorious, Manchester, New Hampshire, here on Canal

Street. Today is Saturday, June thirteen, twenty twenty four. We have

a very very busy show for you today. We opened, of course with

the brand new single from Hope the Rapper that what is called Heavenly Father.

Is we are in week five of our ten world radio premieres of new singles

from Hope the Rapper. Ten weeks of world radio premieres, and that is

the fifth one in the series. That is Heavenly Father by our friend Hope

the Rapper, really really great stuff. And the track that we heard after

that is called if I Can't Be with You and that is by mister Cameron

Suttfinn who is here with us on this this very humid Saturday morning. Welcome

Cameron. Yeah, thanks for having me. Great to have you here,

and I'm looking forward to hearing you play. You did bring your guitar.

And by the way, so congratulations are in order. I believe you're about

to get married. Yes, I'm getting married. So we're less than a

week so I'm getting married next Friday. Oh very good. Yeah, I

saw I saw your Facebook post. This is your last public performance before the

wedding. So I'm doing the Sanddown Summer Concert Series on Tuesday. Oh.

Fiance and I are both working right up until the wedding. Oh no kidding.

Yeah, yeah, good for you. Good for you. Well,

I'm dying to hear you play something if you want to. Yeah. Thanks.

Yeah. So this is this first track on the album. It was

put out last month and it's called John Henry. This was my attempt at

writing a John Henry song because being a Folks singer, I wanted one because

everyone else has one, all right. John Henry was a steel driving main.

John Henry was a steel driving main. He never worked for Call because

they tortured land. John Henry was a steel dripping Paine the mountains. I

be torn down the mountains. I be torn down faster than John Henry ever

slung his hand around the mountains. I be torn down. There's dirty water

in the streams. There's dirty water in the streams. Very good for man.

But the only car out machines. There's dirty water in the streams.

John Henry beat the steam drill with only a hamper in his hand. Bloody.

It'll take more than that to red coal from this lane. The air

in the mountains ain't clean. The air in the mountains aint clean. And

you can't beat us steam drill. If Camberine the AA in the mountains at

John Henry was a steel trapping Maine. John Henry was a steel driving main.

He never looked far because they told you then. John Henry was a

steel draving main. John Henry was a steam trapping main. Oh, I

love it. I love it. Cameron Sutfit is with us a live in

studio here, and uh, you sound great. Your voice is unique.

I can't think of I can't think of anyone who sounds quite like you.

You get compared to anybody that I'm maybe not thinking of sometimes Bob Dylan,

because I like I like Bob Dylan, and I also I'm a big Neil

Young fan, Okay, but I don't have a tie of voices Neil Young

does. Yeah, No, that's that's true. Yeah. Are those are

those guys big influences of yours? Oh? Yeah, yeah, I got

into I got into Bob Dylan when I was a teenager. So my first

Bob Dylan record, because I'm in my thirties, was Modern Times from the

two thousands, and then I had to go backwards. Oh okay, and

you know figure out that there was the Free Wheel and Bob Dylan, you

know, Blonde on Blonde and Nashville Skyline and all the other ones. Did

did going back and listening to those earlier releases did that kind of change?

Like? Did you? Did you appreciate those more? Because you know,

artists who've been around for you know, decades, like Bob Dylan, who've

had that kind of a career. You know, everybody always says, oh,

I like the earlier stuff better. But I'm curious if from your perspective,

because you you really discovered him late in his career, I'm curious if

if you feel that same way or I mean, I I like the early

stuff. It's you know, I think I think most everything Bob Dylan does

is genius. But I remember going I saw Bob Dylan many years ago with

my family in Amherst, Massachusetts, and I was sitting next to So I

went with my mom and my dad and my brother, and I was sitting

next to my mom and he started playing stuff from Modern Times on up to

Temptest, which was the latest record at that point, and my mom looks

at me goes, how do you know these songs because he's not doing anything

from the seventies. I think at the end he did Tangled Up in Blue,

and my mom was like, oh, okay, I know that one.

Yeah, yeah, I know. I've heard that he'll do that,

Like he'll kind he doesn't necessarily want to load up his set with a lot

of the earlier material, which is interesting because there were probably people, I

mean, they might not have shown it, but there were probably people in

that audience who were actually not pleased that he wasn't leaning more on the earlier

stuff, you know what I mean. There were behind us where the band

DAWs was opening for him, so there were some There was a couple guys

there who I thought were older. They were probably my age or mid twenties.

I was a teenager I was at the time, and they were there

for DAWs and for the modern times up so there was about about half and

half of the crowd, yes younger than half was was you know, wanted

the you know seventies eighties material, right right, that's interesting, And tell

us about this album. So you sent me. Now this is your debut

album, not your debut release, because you have an EP that you have

put out previously, but the song that we played at the top of the

show, and we're gonna play another one of course later. But these are

from your thirteen track full full length album. Yep. Yeah, yes,

yep, it's a ten track and yeah, okay, yep. I made

it in a Rocking Horse studio in Pasfield, New Hampshire. I'm bad at

math. Rocking Horse, that's a name that comes up a lot on the

show. Yep, they're really great. And then I so I went there

and recorded with my guitar, and then I outsourced because I know some musicians

in Nashville. I used to live in Nashville, Tennessee, and so I

so I had the bass player. The upright bass player was from upstate New

York and he comes down to Rocking Horse once a month and does a whole

bunch of set. And then the steel players from Nashville. The fiddle player

Amy Alvey now lives in Nashville, but she used to live in Boston.

She's in a bluegrass duo called Golden Shoals, and I met her on a

tour called the Massachusetts Walking Tour many years ago. And then I had my

friend Kat Kennedy sing on a couple of tracks and she's out in l A.

And then my my friend Mary Hastings, who's out of Conquered New Hampshire,

where I am technically out of until August first, but after the wedding

will be there anymore. She sang backing vocals in Rocking Horse, so okay,

And we used to play in a duo called New Leaves, and we

stopped that duo last year because Mary went back to school full time. Is

that who I'm here? Because because there's a couple of songs where yeah,

I hear this female backing vocal that it's just beautiful or actually on what track

is it? Oh? I think it's Mansion on the Hill. Yeah,

that's she she sings with you, Yeah, and you sound amazing together.

Thank you? Yep. So so yeah, and that's that song I wrote

in That's the only song I played that I wrote in college really because the

because when you go to Nashville about your first writer's round, you realize you

have to throw you Oh shoot, that's not good, you know, I

have to yeah, start over. What is that a writer's round For people

who don't know, it's where you play you get up with with. It's

you and two or three other writers. Yeah, and you play three to

four songs and you just go around, so you just go right down the

line. Is that unique to Nashville? Do you know? Or do they?

I don't know. Maybe I think maybe I've heard of that happening in

New York too, But it seems like it's kind of an unusual thing.

I started in Nashville. There's a couple of places that do it. In

There was a place prior to twenty twenty called the Open Door Cafe and I

played there that was in near like Hillsborough, New Hampshire. They would move

locations so they played basement of an old church that played on a farm,

and they would have one feature that would get forty five minutes and then they

would have a couple rounds of people. Okay, so yeah, people have

you know, taken that, but that was a Nashville model that moved its

way up to New York. And Okay, is that intimidating the first time

you do that? Because I mean, you're in Nashville, you know you're

you're among some heavy hitters. Is that nerve racking or it? It was?

I think the second time. Oh no, no, no, the

first time I did it. I did it. It was called the Commodore

Hotel and the feature. I didn't know who the feature was, and I

was going after the feature. I was in the last round of the night

because I was new. And the feature gets up and he says, this

song is a song that I wrote and it's currently in the top thirty on

the country charts and plays it and they goes, this song was a top

twenty two years ago, and I went, can I not? Like,

why couldn't you put me on earlier? I don't want to follow that,

Like this guy's got hits, he has kids. And then so he played

like three or four hits and then he's like, this is a new song.

I went, thank goodness, that's intimidating it. I can imagine,

I can imagine. Well, I'm dying to hear you play another one.

If you're just joining us. We have Cameron Suttfin here with us live in

studio. By the way, is this the earliest in the day you've ever

played live? Anywhere? Did when I moved back to when I moved back

to New England in twenty nineteen, I think I did a radio interview near

Pittsfield, Massachusetts. I believe that one was seven thirty or eight in the

morning. Okay, yeah, that think that was the earliest, yeah,

ever I've ever played. Yeah, yeah, or It's not so much the

plan, right, it's the singing that's the challenge. In the morning.

You sound great though, thank you. I've had my coffee. Yeah yeah,

I mean I can wake up and play guitar, you know, yeah,

anytime in the morning, So we'll do this. One's cold without her,

all right? Every sunrise and set, every chord that I fret,

it doesn't matter. It's all a wayste without her. Every line that I

write doesn't matter. On a lonesome night, there are all aways without her.

When I walk down the street, there's no one beside me. I'm

alone in a crowd without her. When I turn out my lights, there's

no one to haul me through the night. When I get up in the

morning, come there all along. And when I dream there's only darkness.

It seems I can't see the lie without her. When I go to the

bar, it doesn't feel right at all, because I try to forget I'm

without her, and I lay my head to rest. All I feel is

empty. As when I get up with the sun. Nothing matters now that

she's gone. Every sun rise and set, every chord that I fret,

it doesn't matter. It's all a wayst without her. When I laid down

to sleep and Lord calls me, will I still be without her? Oh

that's beautiful, that's beautiful. I love it. If you're just joining us,

Cameron Sutfin is here with a live in studio on this Saturday morning.

It is, of course, Saturday, July thirteen, twenty twenty four.

And are you playing out a lot? Do you play a lot of shows?

Yeah? So I'm lucky. So this is my full time job,

and so like this afternoon and sometimes mornings a little in this about ten thirty

I play, I play nursing homes and that's my quote unquote day job.

Yeah, and then I play a lot of folk venues, a lot of

coffee houses and library lawn concerts. I've got a couple of those coming up

in August. And you know, Farmers' Market's really any community event type thing

where they want, you know, classic country and folk music. Yeah.

Yeah. How long were you in Nashville when you lived down there? Three

years? Three years? Yeah? Years? What brought you back? There's

no I wasn't making any money. Yeah. It's tough, right because it's

you know, you're surrounded by all this great talent, but you're surrounded by

all this great talent kind of a double edged sword in Nashville, right,

Yeah. And so my roommate was a guy who played on the EP that

I made named Ashton Lee, and he taught me a lot, and he

moved out to Colorado, and then the following year I moved back up to

New Hampshire. You know, I moved back to New England. I'm from

Connecticut originally. Oh, okay, okay, yeah, Because you know,

it's a it's a hard scene. The rent is insanely expensive, because Nashville

is it's a booming city, and I do a lot better in New England.

Yeah, in Nashville. So I'm quite happy here, Yeah, no

doubt. But I bet you wouldn't trade the experience, right, because I'm

sure you learned a ton. Oh, I learned a ton. I got

to make it out, you know, I got to make three songs CD

down there, and that was really nice. And I learned how to go

into a studio. Yeah. So the second time I did it here,

I wasn't as intimidated because I knew what I was getting into, right,

right, that makes sense, That makes sense. Did you have mentors in

Nashville? Did you have peop who kind of took you under their wings?

I mean the main guy, And I just met him because I needed,

you know, I needed a roommate. Was my roommate, Ashton Lee,

and he's my age and he went to school for music and he knew way

more than I did. Yeah, and he really helped me. And then

I had this woman I met at a writer's round who was who was,

you know, significantly old than me, had been writing Nashville for about,

I think at the time seven years, and her name was deb Ziem's and

she helped me learn how to lay a song out on a page and how

to write, and we did a couple of co writes and that really helped.

Yeah, excellent. How did you get into playing at nursing homes?

So I started playing in a church folk group. It was Holy Family Church

at the time in Nfield, Connecticut, my hometown, and there were three

nursing homes in the town. And every Christmas one of the guitar players with

the Lions Club would have us go play. And I asked somebody, I

said, hey, could I just play here because I was like thirteen and

one at any gig and said, yeah, you can play. And then

I found out that they pay you for it. Yeah, And I was

like, oh, oh, it doesn't just have to be volunteers, like,

yeah, we'll give you some money. Yeah, and it just you

know, and then I started calling more up and then I figured out,

well, I can go make a living at it and you know, not

have to get quote unquote a real job. Yeah, that's fantastic. Just

go play a bunch of shows and then at night you can do all the

folk type venues. Yep, that's fantastic. There's a lot of musicians.

There's a guy who met playing the Biggie I played there a couple of years

of CONNECTU building gun named Sean Taylor who's out of Connecticut, and we were

playing, you know, late afternoon, and we discovered we did the same

so we were doing the same thing. He's like, oh, yeah,

I was doing that the other day and now I'm here, you know,

doing you know, twelve to two and I was doing two to four after

him, and yeah, oh wowsgover. We did the same type of thing.

That's awesome. Uh, you want to play another one? Yeah,

we'll do one off of the We'll do one off the Nashville one. Oh

cool? This this this one, So this song called Drive and I put

this out so seven years ago this uh, the Nashville EP came out called

Heartbreaktown, and it was my fiance's suggestion. I'll give Millicent all the credit

for this. She heard the songs and I told her that I was going

to put out this new ten track and she said, well, be a

shame if you know, because they had like no streams. Oh yeah,

And she said, well, you know, be a shame if if you

know the good songs, should do something with one of them. And so

she said, you know, should make a video, and so I made

a lyric video to this song Drive, and I had someone in La uh

make it you know for me, and it was lyrics and uh tour pictures

of all the tours I'd done with friends and camping. We camped all across

the country with a couple friends. And it now has eleven thousand views on

YouTube, which is my first, my first first video to have over ten

thousand views. I was quite grateful to Milicent, my fiance, for making

that suggestion, cause it worked. So yeah, it's called Drive. It's

about driving around the country. I've been to now thirty two states in d

C. No kidding. Wow. The only one I flew to was California.

That was last year to go to music festival with my brother. So

we both flew in and then flew out. Oh okay, I didn't.

So it was like, oh, you're gonna drive. I said, no,

that's a hike. I was playing the Merymack Public Library a few years

ago and I played this song and this woman bought the CD and she said

she was doing a cross country trip and she was going to listen to it

the entire time. And I said, well, it's only three minutes,

so that might might want to throw in other songs, right, that's going

to be a that's gonna be able to repeat for a lot. Yeah,

I think she was going to either Nevada or Arizona. She said she's driving

out. Okay, so it's called drive here, TRYI van drive. Don't

you ever sleep counting down the exit signs like promises you can't keep, Like

promises you can't keep. Try evan drive. Watch night turn into day.

As long as you keep moving, you won't feel the pain. No,

you won't feel the pain further long. There's a new place to go.

You burn through your line life, watch it go up being smoke, But

there's always a new roads. You just shrive handdrivan tron, triving round than

New York City town like a desperado. Y'll never settled down. You'll never

settled down. You sing your songs, hit your guitar, burn nor fens

of the candle like you don't care if you fall, like you don't care

if fall further lot, there's a new place to go. You burn through

your life, watch it go up being smoke, But there's always a new

roads. You just shrive hand try Evan tron further lot. There's a new

place to go, and you've burned through your life. W't you go up

in smoke? But there's always eight new roads. You just try pantry,

Evan trot, try Evan drop. Don't you have sleep counting down the exit

signs like promises you can't keep. Like promises you can't keep. Like promises

you can't keep. I like it, Thank you, I like it.

Cameron Sutfin is here with us, alive in studio here and uh sounding sounding

great? And yeah, I can see where I can see where someone that

is a I can see where someone would think that that was a good driving

song. I can, I can. I can kind of picture it.

But like you said, you know, not necessarily listening to it over and

over and over. But that's I did even want to calculate it all the

times you have to repete to get from here to Midwest? Now, how

did you how did you wind up working with Rocky Horse? Like I said,

that's a name that comes up a lot on the show and a very

popular studio. How did you connect? It's Brian right, yes, Brian,

yes, Brian Uh? I forget his last name? Now? I

know him too, and I'm blanking. I know a lot of Brian's I'm

blanking on too. It's on the back of the album. That's all right,

Brian from Rocky Horse. How did you connect with him? I ended

up, you know, googling studios in uh in New Hampshire and it's about

twenty minutes from where I live. And they had you know, samples in

their website. And when I was making it, I was playing with Mary

Hastings. When when we were playing with the duo, we're playing market Days

and the guy's running sound. We're in this band called Club Soda and they

their female singer was having a hip surgery and they said to Mary, they

said, we're doing this gig in Maine. Can you fill in on a

couple of songs? And then they said to me, oh, could you

play two on some songs? And we were in front of those twenty one

outside I think it was they said, just under a thousand people. It's

really nice of them. And as we're getting set up in sound checking,

I mentioned I was making an album and they said, oh, where,

and I said Rocking Corse. They said, oh, my gosh, we've

been there. They're great, and they really are great guys. So I

didn't know, you know, the reputation. I just heard the tracks they

were doing and he said, oh, this sounds great, I'll go there.

Oh it's Cooms, right, Brian Coom. Yes, right, I

knew it would come to me eventually. They were great. They were great.

Yeah, yeah, fantastic. Yeah, I've been to that studio.

It's it's very impressive. Are you going to uh now, do you have

more? I don't know how long has this album been out? Is this

relative June fourth? June and fourth? So this is brand news, brand

new, ye June fourth, So you're probably not even thinking about the next

one yet, or maybe you are. I don't know. I've got I've

got I've got a handful of songs. Yeah, yeah, that I could.

You know that I could put out you probably you strike me as someone

who probably writes a lot. You write a lot of Yeah. Yeah,

yeah, I just wrote last month. I wrote two and so I don't

have those memorized yet because I'm promoting a new album. Yeah you know,

I said, well, i've got these two I've got you know, like,

well, got those two? I got three over here? I said,

Okay, that's half a record. Yeah. Yeah, when you're working

with Brian, because a lot of people have described this experience to me,

does he become I mean obviously he's you know, he's engineering, he's recording

you. But does he also become sort of a de facto producer because I

know he's got a lot of ideas he does. Yeah, he does.

And that was really apparent when so I did my guitar and vocals, and

then I went in, I redid some vocals, a couple of tracks,

and then when when Mary Hastings was in the studio, she sings on four

of the tracks, and yeah, he was very much you know, saying

try this here and try that there, and and then he you know,

cut it together and okay, you know that sounds good over here, and

we'll move it around and yeah, yeah, then we've got, you know,

a good track. Doesn't surprise me. He's known for being kind of

a wizard. He can you know, he's got a lot of ideas and

oh yeah, he's very very creative guy himself. Yeah. Absolutely, you

want to play another one? Yeah, well, doud, this is this

is one of so I had a friend of mine suggests, so there's when

I told him I was making a record and he I told him I was

having you know, backing vocals and fiddle, and he said, you should

probably have one or two tracks because I play solo so much that are sparse

and so this one's foolish game. So this is one of the two.

Oh, I have to tell you, this is one of my favorites.

I was listening to the whole thing last night. This much. I appreciate

that this is one of my favorites. This one, this one really really

kind of hit me in a certain way. Yeah. Thanks. I wrote

it about sort of running away from relationships. Yeah, that's when I was

much younger. Yes, yes, I was much younger. And you know,

twenty year old me was not smart. A twenty year old anybody isn't

smart. Don't feel bad, all right, Cameron sutthan live. He just

see a friend fly into the sun only to get burned in the end.

You study, so just lack of chain, but there aint no shape even

lying in the bed your main Can you fight the urge to run? Would

you make it further? If you stay? Can you lie by my side

for one more day? When you learn the loves fulish game maybe you're right.

I put my heart on a shelf so high no one can tear it

down, because I remember a lie I was told time will ease your pain

and lie and your loan. Can you fight anything urge to run? Would

you make it further if you stayed? Can you lie by my side for

one more day? When you learn the loves Foolish Game? You hear the

sound of a slimming door and you know you've heard it in your past before.

Will you shooting me now like a cannon barn? Will I see your

face when the night turns down? Can you fight the urge to run?

Would you make it further if you stay? Can you live by my side?

One Monday? When you learn loves a foolish game? When you learn

loves a foolish Game? Where you learn loves a foolish game? Very nice?

Cameron Sutfinn live in studio with us this morning. Yeah, I really

like that song. Thanks, I appreciate that a lot. Absolutely, Absolutely,

we should uh for those just joining us, we should plug. So

you've got you've got one more live show before the wedding. Yep, that's

the Sandown Concert Series next Tuesday, and that's in Sandown, New Hampshire.

Now what do you now Sanddown? That is? Is that your Keene?

That's that's yeah. Okay. Someone was posting on a Facebook form that they

wanted musicians for this concert series. Yeah, and my message you know,

I just sent a private message to the people booking it and with you know,

a track from the album and just my name and my bio. And

they said, yeah, you know, every Tuesday, and gave me a

list of availability. Oh excellent, excellent. So is that something they do

throughout the summer every time? Yeah, yeah, that's so they have the

so it's on Tuesdays and they have a farmer's market on Tuesdays with the musician

and then that shuts down and then they have their concert series at night.

Oh very cool, awesome, awesome And I've never heard of it before too

this year and I was I can't wait to play it. Excellent. By

the way, I can confirm a new fan for you, Hope the Rapper,

who, of course we open the Today's show with this brand new single,

Heavenly Father, because we're doing ten weeks of new Hope the Rapper singles

world radio premieeres and he messaged me and was complimenting you. Oh, thank

you. I appreciate that. Says you sound really good. So and if

you missed Heavenly Father, the new single from Hope the Rapper, we'll play

that again in a bit on the show as well. So but try to

hit that. I try to hit that every hour with the New with the

World radio premieres here on Matt connorton Unleashed. Have these studio tracks? Have

these been playing on the radio before? So some of them have. Yeah.

So I was on the show just where they all came out, called

the Folk Revival. That's at a Wooster Okay, So, yep, that's

a Nick Nobles show, so yeah, he he played a couple of them.

I'll have to look that up. That's not a show that I'm familiar

with, but that's that's on. Yeah, that's at a Wooster Okay,

Okay, interesting all right, very cool, Very cool. By the way,

So when you play out, do you ever is it always just you

solo? Or do you ever have other musicians to join you? It's it's

pretty much now it's always me solo. So I played in a duo with

my friend Mary Hastings also played and do it with my friend Mary proto that

that's many more years ago. I do have a the bass player actually at

Saint John Jugon Church in the folk group. He told me to message in

the tracks and he said, if you ever played locally, I'll play.

So we might do something, you know, after after I'm married. Yeah,

and I'll have him backing me. But he doesn't want to travel too

far. He's like just local Connecticut, you know. Yeah, but it's

mainly me. One of my favorite singer songwriters, Guy Clark, who said,

you know, you can make a living if you can play solo because

there's very little overhead exactly. So it's yeah, it's mainly been just me,

but you know that might change. I might have a you know,

backing musician or two. Sure, sure come along with me. But there

is there are advantages of course, you know, practically and logistically to be

a solo act. You know, I myself, I'm a musician, but

I've only ever played in bands, so I know that. You know,

with bands, it's always there's the challenges of working around even just for rehearsals,

you know, working around everyone's schedules, and then when you're trying to

book shows, Okay, you got to find out is everybody available to do

it? And this and that. So when it's just you and a guitar,

you know you can. You know, that part's pretty easy in that

in Nashville because there's you know, so many bands and so my So I'll

give the example my roommate, Ashton Lee. So when he would book a

show with his band, he had a guitar player, bass drummer, he

and he would sing and play guitar as well. And if the drummer couldn't

make it, because oh I've got another gig. Yeah, he'd start calling

around and then he'd send the new drummer for that night the set list,

no kidding, and go here you know, here's here's the covers, here's

the originals. Listen to the track be ready to go, and you're expected

to just go, no kidding. Same thing for bass player guitar. You

know, here's the charts, here's the covers, here's the originals. Listen

to him, and this is the set list for the two or three hour

show. I'll be damned, no kidding. Wow, I suppose if there's

a city where you know you could you can pull that kind of system off.

It's Nashville, right, I mean maybe they do that other places too.

But they found a they were playing tourist spot lower Broadway, and they'd

got done and then this guy from a different honky tunk over. He says,

can you guys come play another three hours because our band, just the

band there just they can't make it. Something happened yeah, and I said,

well we can, but our bass player can't. He's got to go

play over there. So they ran around, found a bass player and went,

here's the set. Wow. And they removed the originals because the bass

player had never heard, so they just said, here's the set and we'll

do the substitute of these covers. Can you do it? And he said,

think so, that's wild, that's incredible. And they did another three

hours and he said yeah, he said it went okay, bass player knew

ninety percent of you know, it's the same country covers. Yeah, they

do ninety percent of the set, and there may be one song he's like,

oh, I don't know that one. They just tell them what key

it's in. Yeah, okay, this key feels like that, and the

drummer counts it off in a way. They go, that's amazing. But

so you've really got to have your chops though in that kind of a situation,

right, because if you're in a scenario, or if a scenario might

arise, I should say, where you're going to be called upon. You

know, you got to either know these songs or you got to learn them

really fast, like you've you've really got to be on your game. Oh

yeah, I've seen I. You know, I premierently went down there to

song right, So I was not you know, I was not playing in

you know, a ton of bands and doing Lower Broadway much at all.

But you know I went down there do the writers' rounds and try the song

right. But yees, this session players there are incredible as to as to

what they can do on the fly. Yeah. Yeah, that's if you

want a guitar solo. You said, well, there's a guitar solo right

there. They'll play you three guitar solos. Go, okay, pick one,

yeah, and it'll be in one, take one, two, three,

okay, pick one, yep, yep, that's amazing, and it's

onto the next, on to the next thing. Yeah. Yeah, that's

incredible. That's amazing. Do you want to you want to play one more?

Live one. Yeah, we'll do. Yeah, let's see which one

we can do. Here we do And if you're just joining us, Cameron

Sutton is here with us, live in studio, sounding amazing. Get the

guitar tune first. Yeah. Yeah. What's the name of the album?

By the way, it's called part of Me, Part of Any any story

behind the title. So that's the that's the title track. And I just

I named it that because I felt the album was pretty personal. Yeah,

we'll do so, I said. I play nursing homes. That's my day

job. Yeah, this song, this is the only pandemic song on the

record. I promise I didn't overloaded. I know we're four years out,

but this song came from I was visiting a particular sister living in Kennebunk,

Maine in twenty twenty. They let me inside, which was incredible, and

this woman after the show and by came up to me, I meant eighteen

feet away because the staff wouldn't let anyone go near anybody. Yeah yeah,

and she said, you know, I understand that there's this virus out there,

but I'm in my eighties and I always just want to see my family

and I don't care because honestly, how long do I have to live?

And there's no end to this? And I went home that night thinking about

it, and I wrote this song from her perspective and everyone there because there

was absolutely no end in sight. And in twenty twenty one, when everything

starts to open up, those nursing homes were dead last to open up.

Yep, oh yeah, and people didn't. They're like, it's back to

normal. I'm like, what, there's this one population that they won't let

do much still and even in gosh, it was just last year, some

of them said no more masking in nursing homes. Yeah, oh yeah,

yeah, they were pretty Yeah, they waited, They waited for a long

time and navigating that. And I knew a lot of people that were working

in, you know, in those places that ended up, you know,

moving on to other jobs because yeah, and that was never mind the residents

living, that was just the employees that just said, I've had enough with

healthcare. I'm going to go. I've got a new career. So this

is my you know, this is the last time you'll be seeing me.

I knew a lot of activities directors that just was was that stressful for you?

By the way, I didn't it because until you brought this up,

it didn't even occur to me, like during the you know, at the

height of the pandemic, playing these nursing homes because in a lot of these

nursing homes, like you know, once once COVID got in there, it

just you know, obviously it spread like wildfire, because that's the most vulnerable

among us, you know, eighty year old people. So the first show

was I'll remember to day for it was April twenty ninth, was the first

show back, and we did something outside in Yeah. So those started happening,

and then I did a ton of shows over zoom and I pre recorded

stuff and oh okay, and then Marry my friend and I we we made

because we couldn't do Christmas shows, so we made Christmas DVDs. Yeah.

I paid my rent in Christmas DVD sales and I would so we recorded,

burned them, and I'd go down a post office every day a five or

ten of them stacked going to Massachusetts, New Hampshire, Nashville. I'd want

in Wyoming that didn't have the technology but wanted one, you know, to

do a virtual show. And so I paid my rent that December and DVD

sails. Interesting. Yeah, so I made it work. Yes, yes,

it was scary for a bit, but then it you know, the

you know, the zoom shows came out and it was okay, and then

you know, it was well, okay, I can. I can pay

all my bills and you know, if this is the way they want it

forever, I can pay my bills. Once the public shows, you know,

open up more, you know I'll do those. Yeah. Yes,

it's called from a distance from the dicetan. That's how it's been for six

months. Now knows when their sins can hold my son, my grandkids.

All I get is a window over, is it? They told me if

I'm hugging them, how mad get sicking die. But right now I'll give

my life to hold them one more time. Don't know how I am going

to make it through. This is lone so like I never knew. They

can't tell me, you know, I can kiss my son. They just

tell me to be strong. It gets long leger every day I don't see

anyone's face, and old man risking my love to old my family one more

time from adstans. That's allienspan for a year. Now no ones win.

This sends hand hold Mass, Margarinekids Mass supposed to live Black Things very nice.

Cameron sut Finn live in studio with us, beautiful, beautiful, Thank

you so much. Hey Cameron, before we run out of time, please

let everyone know how they can find you online. Where's the best places to

go to keep up with everything that you're doing. Get your music, check

out your live dates. Yep. So it's Cameron sutf and music on Facebook

and Instagram and the days are posted, the July days are posted there.

We'll have the August dates up soon. And then Cameron setfin on Spotify and

iTunes. And for the spelling impaired of course, s U T F I'm

sorry, no, yes, okay, I'm spelling impaired. S U t

p h I N correct yep, okay. Then once you have that,

you type that into Google you can find everything about me. Yes, there

you go, there you go. Yeah, it's not a not a particularly

common last name. So no. Once once you have that spelling down,

that's it. It's it's all there. Yeah, yeah, exactly, And

and congratulations again on the on the nuptials. Thank you. Yep. We're

excited, we're less than a week away. So that's exciting. Well,

we're gonna close the We're gonna close out the hour with one more studio track

from Cameron. This is called what Makes It Great? Any anything we should

know about this before we before we play it? No? So, so

I wrote it, so it all the way back in I was twenty seventeen,

and everybody in twenty sixteen. There were a lot of musicians running protest

songs with the line we don't need to be made great. And I gave

myself a challenge to use that line, but to not be specific, because

Bob Dylan, when he wrote protest songs, was not specific. Anyone could

use them for anything. That's true, you know. The time blowing in

the wind was not specific times they are changing, was not specific as to

what the senators or congressmen were for or against. It was just general,

Yeah, you're right. And so so I gave myself that challenge, Actually,

can I write a song with that phrase in it and not make it

specific? Yeah? And it was about old car I used to own that

got up to two hundred and ninety five thousand miles and it got trading for

it. Oh my god, and the car out there just hit over two

hundred thousand miles and it's still running. I've been very, very lucky with

cars. What kind of car is I'm curious now? So the car out

there is a niece on Versa. Okay, and then the car and the

song was a twenty Twelveday Sonata, no kidding. Wow? All right,

well, very good. So we will close with this. This is called

what makes It Great? The Great Cameron Sutton, and we'll have to have

you back again. Thank you so much. This was really wonderful, and

check this out and if you are listening live on Saturday, there's plenty more

to come. But what makes it great? Cameron Sutton? I've got this

car twenty twelve Hyunday bumps, missing headlines, ound, but it runs the

same. The windshields cracked, bun, It's still drives. It's not what

you see that makes it shine, Bunny. It used on Broadway almost a

year going to the day. It's traveled fifty thousand miles sin so then it's

ready traveled them again. You don't need that flashing shine. You just need

something to get you buy heap the details, you crawl men things. It's

what sudden need to make said great. Some men are rich, and they'll

let you know when on this leaves put on show. But I know things

man keep inside late at night they turned out lights. You don't need that

flashing shine. You just need something too gety. By keep detis you crawlman

flames. It's what Sunday need to makes it grade. It ain't fast,

it's rusty, though it doesn't shine, it doesn't look new. I don't

need something fresh off the blot. I'll stick with what I got. You

don't need that flashing shine. You just need something too gety. By keep

deting, you crawlm in flames. It's what Sunday need. The makeshick grade.

It's want you to not what says what sounded makes it May you know

it's different. Once the chorus comes in, just for let us say the

name. H oh he he. I ain't grow up in the hood,

but I'm good damn trying to walk in my shoes not the good path.

Still ball on the hoogin and one come the father with a game understands some

move with the work sort of like a tandemp I'm about to take the rap

tap for Bransome different meetings when we greet them and say, hands kills me.

It's pain. Came Charles, me a son, put in gat a

boy pen. Don't you know that this she spent. I'm just trying to

touch the world. Paper was my mental man. I'm gonna send them rid

of limb. They gonna not the way you think. I was trying to

find some hope, not in the tre people problems on my plate, trying

to get them in a safe full time. I was healing peats, pulled

them on, was in a sent still. Look w was making sense,

trying to get this money straight. Just a bend. Call it this drivee

like I'm a chauffeur. Can't count the times I came from coach shoulders,

hand me in the rocks a week and make bold of my son. Gonnaut

squads like PlayStation control holds up. They pray that I retired, but I

got it like Trump when I spent five till the wall a round the prophet.

Call that how you want it. I'm gonna treat them how they treat

me. Sign it from the bottom. Never said it would be easy.

And I remember when DMX used to come in it off prayers church and we're

gonna have to and this one with a prayer fell women, heavenly Father.

I feel remorse for the pain of cost on my grind, stayble, lots

of my handle boss, many times pull my eyes attle thoughts. Remember,

it's gonna take friction if you want to spark to stay the church and win

the night's thoughts. But ain't he a man who could? Like dark?

My God, he help me balas the bird is trying to turn the baggage

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